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Journal articles on the topic 'Mozart K'

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Published: 4 June 2021

Last updated: 15 February 2022

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1

EDGE, DEXTER. "Attributing Mozart (i): three accompanied recitatives." Cambridge Opera Journal 13, no. 3 (November 2001): 197–237. http://dx.doi.org/10.1017/s0954586701001975.

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In a recent issue of the Cambridge Opera Journal, Dorothea Link has proposed that Mozart may have been the author of an unattributed accompanied recitative that precedes the aria ‘‘Vado, ma dove?,” K. 583, in the Viennese court theatre’s original performing score of Martín y Soler's Il burbero di buon cuore. The present article re-examines the case for Mozart's authorship of this recitative in the wider context of Mozart studies as a whole, and through a detailed reconsideration of the source and stylistic evidence. The recitative preceding K. 583 is compared to two other accompanied recitatives with plausible connections to Mozart: an unattributed one that precedes a score of Mozart's aria ‘‘No, che non sei capace,” K. 419, in a Viennese manuscript of extracts from Paisiello’s Fedra; and one that is explicitly attributed to Mozart in the Viennese court theatre's original performing score of a pasticcio based on Guglielmi's La quacquera spirituosa.

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2

Lin, Lung-Chang, Mei-Wen Lee, Ruey-Chang Wei, Hin-Kiu Mok, Hui-Chuan Wu, Chin-Lin Tsai, and Rei-Cheng Yang. "Mozart K.545 Mimics Mozart K.448 in Reducing Epileptiform Discharges in Epileptic Children." Evidence-Based Complementary and Alternative Medicine 2012 (2012): 1–6. http://dx.doi.org/10.1155/2012/607517.

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Mozart K.448 has been shown to improve cognitive function, leading to what is known as the Mozart Effect. Our previous work reveals positive effects of Mozart K.448 in reducing epileptiform discharges in epileptic children. In this study, we evaluated the effect of Mozart K.545 and compared the effects with those of Mozart K.448 on epileptiform discharges in children with epilepsy. Thirty-nine epileptic children with epileptiform discharges were included in the study. They received electroencephalogram examinations before, during, and after listening to Mozart K.448 and K.545, one week apart, respectively. The frequencies of epileptiform discharges were compared. There was a significant decrease in the frequency of epileptiform discharges during and right after listening to Mozart K.448 and K.545 (reduced by35.7±32.7% during Mozart K.448 and30.3±44.4% after Mozart K.448; and34.0±39.5% during Mozart K.545 and31.8±39.2% after Mozart K.545). Spectrogrammatic analysis of the two pieces of music demonstrated that both share similar spectrogrammatic characteristics. Listening to Mozart K.448 and K.545 decreased the epileptiform discharges in epileptic children. This suggests that Mozart K.448 is not the only piece of music to have beneficial effects on children with epilepsy. Other music with lower harmonics may also decrease epileptiform discharges in epileptic children.

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3

Eisen, Cliff. "New Light on Mozart's ‘Linz’ Symphony, K. 425." Journal of the Royal Musical Association 113, no. 1 (1988): 81–96. http://dx.doi.org/10.1093/jrma/113.1.81.

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Autographs survive for all of Mozart's symphonies from K.112 to K.551 with one exception: the ‘Linz’ Symphony, K.425, composed in October and November 1783. Alfred Einstein thought it might have been among the autographs sold by Constanze Mozart to the King of Prussia in February 1792; however, it also could have been one of the symphonies cited by her in a letter of 31 May 1800 to Breitkopf und Härtel, according to which the Grand Duke of Tuscany owned autographs of two Mozart symphonies and Capellmeister Stoll of Baden, for whom Mozart had composed the motet Ave verum corpus, K.618, another. In any event, it was not among the autographs and copies sold in 1799 to the Offenbach publisher Johann Anton André.

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4

Prokhorenkova, Svetlana. "Color Symbolism in the Works by Raphael and Mozart." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 195–204. http://dx.doi.org/10.17150/2500-2759.2020.30(2).195-204.

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Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works dedicated to various aspects of the artist’s and composer’s artwork. According to J.W. Goethe’s and F. List’s studies, Raphael’s and Mozart’s creations appear to be congenial. Romantic poets and artists took up Goethe’s and List’s ideas and developed them in their own fashion. E.T.A. Hoffmann was the first to pay attention to color symbolism in Mozart’s works, and the coloration of Raphael’s paintings influenced K. Bryullov. In the 20th century, G.V. Chicherin and H. Abert made their contribution to investigating a possible interrelation between Raphael’s and Mozarts’ works of art. In the article, the author considers an interpretation of the color on the fresco «The School of Athens» by Raphael and also in the songs and operas by Mozart.

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5

Ridgewell, Rupert. "Biographical Myth and the Publication of Mozart's Piano Quartets." Journal of the Royal Musical Association 135, no. 1 (2010): 41–114. http://dx.doi.org/10.1080/02690401003597771.

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The story that Mozart was commissioned to write three piano quartets for publication in Franz Anton Hoffmeister's subscription series has proved to be remarkably resilient in the Mozart literature. According to the account that first appeared in Georg Nikolaus von Nissen's biography (1828), Hoffmeister gave Mozart an advance payment for the works, but decided to withdraw after the first quartet, K.478, was poorly received. The article exposes a series of flaws in this narrative by locating Hoffmeister's edition of K.478 in a wider contextual and bibliographical framework than has been hitherto attempted. A revised chain of events, based on a new understanding of Hoffmeister's business, suggests a more complex narrative for Mozart's dealings with the publisher. It also prompts us to reconsider the circumstances surrounding Mozart's composition of his two completed piano quartets and the reception of his chamber music in Vienna before 1791.

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6

Rumph, Stephen. "Mozart's Archaic Endings: A Linguistic Critique." Journal of the Royal Musical Association 130, no. 2 (2005): 159–96. http://dx.doi.org/10.1093/jrma/fki001.

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Rhetorical studies of Mozart have assumed a rationalist conception of language, ignoring the empiricist model that actually dominated the Enlightenment. The two models, comparable structurally to the stile antico and style galant, collide in Mozart's learned finales. A study of three finales, from the Mass in C minor, the Concerto in E♭, K.449, and Die Entführung aus dem Serail, shows how Mozart negotiated irreducible contradictions within Enlightenment thought by switching between the two models.

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7

Twomey, A., and A. Esgate. "The Mozart Effect May Only Be Demonstrable in Nonmusicians." Perceptual and Motor Skills 95, no. 3 (December 2002): 1013–26. http://dx.doi.org/10.2466/pms.2002.95.3.1013.

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The “Mozart effect” is the tendency to score higher on spatiotemporal IQ subscales following exposure to complex music such as Mozart's Sonata K.448. This phenomenon was investigated in 20 musicians and 20 nonmusicians. The trion model predicts increased synchrony between musical and spatiotemporal centres in the right cerebral hemisphere. Since increased left-hemispheric involvement in music processing occurs as a result of music training, predictions deriving from the possibility of increased synchrony with left-hemispheric areas in musicians were tested. These included improved performance on language as well as spatiotemporal tasks. Spatiotemporal, synonym generation, and rhyming word generation tasks were employed as was the Mozart Sonata K.448. A Mozart effect was demonstrated on the spatiotemporal task, and the facilitatory effect of exposure to Mozart was greater for the non-musician group. This finding adds to the robustness of the Mozart effect since novel tasks were used. No Mozart effect was found for either group on the verbal tasks, although the musicians scored higher on rhyming word generation. This new finding adds to the number of nonmusical tasks apparently showing long-term benefits from music training. However, no systematic link was found between performance on any task and number of years spent in music training. The failure to induce a Mozart effect in the musician group on verbal tasks, as well as that group's limited facilitation on spatiotemporal tasks, may be associated with either a ceiling effect due to the long-term effects of music training or from methodological factors. Both possibilities are discussed.

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Gilleta, Karen S., Mirna I. Vrbancic, Lorin J. Elias, and Deborah M. Saucier. "A Mozart Effect for Women on a Mental Rotations Task." Perceptual and Motor Skills 96, no. 3_suppl (June 2003): 1086–92. http://dx.doi.org/10.2466/pms.2003.96.3c.1086.

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During the past decade, there have been numerous reports of a brief, but statistically significant, improvement in immediate spatial-temporal performance after listening to 10 min. of Mozart's Sonata K.448, known as the “Mozart effect.” The purpose of the present study was to assess whether production of the effect is influenced by length of listening conditions or sex. Each of 52 right-handed participants (26 females, 26 males) completed a paper-folding and cutting task and a Mental Rotations task following a listening condition in which the Mozart sonata was played and a silent condition (no music was played). A significant 3-way interaction among sex, listening condition, and task indicated that an effect was present only for women on the Mental Rotations task. As such, researchers should investigate the role of sex in production of the Mozart effect.

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9

Hernando Requejo, Virgilio. "Epilepsia, Mozart y su sonata K.448: ¿es terapéutico el «efecto Mozart»?" Revista de Neurología 66, no. 09 (2018): 308. http://dx.doi.org/10.33588/rn.6609.2017460.

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10

Yudkin, Jeremy. "Beethoven's Mozart Quartet." Journal of the American Musicological Society 45, no. 1 (1992): 30–74. http://dx.doi.org/10.2307/831489.

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The literary critic Harold Bloom coined the term "anxiety of influence" to cover stages in the emancipation of poets from their powerful forebears. Much has been written on the shadow cast by Beethoven over later nineteenth-century composers, but Beethoven too had to come to terms with powerful influences. It has long been recognized that the slow movement of Beethoven's String Quartet, op. 18, no. 5, is modeled on that of Mozart's String Quartet in A major, K. 464. Here it is shown that in fact, the imitation involves not only the slow movement but all four of the movements. This provides an opportunity to examine in detail Beethoven's technique of reinterpreting his model. Indeed an examination of Beethoven's "anxiety" at different stages of his career may lead us to a closer understanding of his creative development. Toward the end of his life Beethoven imitated one of the movements from K. 464 again. Here may be seen the final stage in the confrontation of his anxiety.

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11

Giardina, Adriano. "Vers le style d’exécution « mainstream » des concertos pour piano de Mozart: l’enregistrement Columbia du Concerto en Sol majeur, K. 453, par Ernst von Dohnányi." Studia Musicologica 58, no. 2 (June 2017): 197–224. http://dx.doi.org/10.1556/6.2017.58.2.4.

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The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest promoters of the Austrian composer’s piano pieces. In the Columbia recording, the performing style of Dohnányi and his orchestra is characteristic of its time, notably because it chooses to use a flexible tempo. In addition, the soloist makes use of rubato and chord dislocation. Nonetheless, the performers are also playing in an intimate conversational tone and they emphasize Mozart’s structural clarity. The execution of themes by the pianist is both poetic and restrained. These traits will define the “mainstream” performing style of Mozart’s piano concertos over most of the twentieth century. An implicit aesthetic standard comes into force in the critical reviews of the Columbia records: Mozart’s piano concertos require lightness and gentleness from the soloist. The elements given prominence to the recording and in the reviews also appear in contemporary musicological literature and in texts on music. Recordings of two additional Mozart piano concertos (K. 271 and K. 503), played live by Dohnányi in the 1950s, display a broadly similar performing style. Over the ten years that followed the Columbia recording, the majority of Mozart’s “great” piano concertos were published on records. This newly found popular interest is connected with a positive re-evaluation of this group of Mozart’s works.

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12

Črnčec, Rudi, Sarah J. Wilson, and Margot Prior. "No Evidence for the Mozart Effect in Children." Music Perception 23, no. 4 (April 1, 2006): 305–18. http://dx.doi.org/10.1525/mp.2006.23.4.305.

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The Mozart Effect refers to claims that listening to Mozart-like music results in a small, short-lived improvement in spatiotemporal performance. Based on predominantly adult research that has shown equivocal findings, there has been speculation that the Mozart effect may have pedagogical benefits for children. The present study aimed to examine the Mozart effect in children and to evaluate two alternative models proposed to account for the effect, namely the trion model and the arousal-mood model. One hundred and thirty-six Grade 5 students (mean age 10.7 years) were exposed to three experimental listening conditions: Mozart piano sonata K. 448, popular music, and silence. Each condition was followed by a spatiotemporal task, and mood and music questionnaires. The results showed no evidence of a Mozart effect. Speculation about applications of the Mozart effect in children needs to be suspended until an effect can be reliably reproduced.

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13

Wolff, Christoph. ": Wolfgang Amadeus Mozart. Requiem . Alfred Schnerich. ; Wolfgang Amadeus Mozart. Requiem, K. 626 . Gunter Brosche." 19th-Century Music 15, no. 2 (October 1991): 162–65. http://dx.doi.org/10.1525/ncm.1991.15.2.02a00070.

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14

Giannouli, Vaitsa. "MOZART EFFECT AND MUSIC PSYCHOLOGY: RECENT DEVELOPMENTS AND FUTURE RESEARCH." Problems of Psychology in the 21st Century 11, no. 1 (December 25, 2017): 4–5. http://dx.doi.org/10.33225/ppc/17.11.04.

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The field of Music Psychology has grown in the past 20 years, to emerge from being just a minor topic to one of mainstream interest within the brain sciences (Hallam, Cross, & Thaut, 2011). Despite the plethora of research attempts to examine the so-called hotly disputed “Mozart effect” which was first reported by Rauscher, Shaw, and Ky (1993, 1995), we still know little about it. This group of researchers were the first to support experimentally that visuospatial processing was enhanced in participants following exposure to Mozart’s Sonata for Two Pianos in D major (K.448). Although the first research attempts referred to the Mozart effect as an easy way of improving cognitive performance immediately after passive music listening to Mozart’s sonata K. 448 (Chabris, 1999), after which healthy young adult students could perform with enhanced spatial- temporal abilities in tasks such as the Paper Folding Task (PFT), nowadays there is a number of studies indicating that this specific music excerpt does not necessarily have this magical influence on all cognitive abilities (e.g. on the overall Intelligence Quotient) in humans and on the behavior of animals (for a review see Giannouli, Tsolaki & Kargopoulos, 2010). In addition to that, questions arise whether listening to this ‘magic music excerpt’ does indeed have benefits that generalize across a wide range of cognitive performance, and if it can induce changes that are of importance for medical and therapeutic purposes in patients with neurological disorders (e.g. epilepsy) or psychiatric disorders (e.g. dementia, depression) (Verrusio et al., 2015).

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15

Keefe, Simon P. "A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K. 537 in D and K. 595 in B-flat." Journal of Musicology 18, no. 4 (2001): 658–84. http://dx.doi.org/10.1525/jm.2001.18.4.658.

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Given the chronological separation of Mozart's final piano concertos, K. 537 and K. 595, from his extraordinary sequence of 15 piano concertos of 1782-86 (K. 413-503), it is no surprise that critics have continually stressed stylistic and affective departures from the composer's norm. But the stylistic significance of these final concertos remains fundamentally misunderstood. In spite of sharply contrasting characteristics——ostentatious virtuosity in K. 537 and carefully measured writing in K. 595——these works are, in fact, kindred spirits. In both concertos Mozart experiments with the introduction of abrupt juxtapositions of harmonically contrasting material while avoiding the outright opposition of piano and orchestral forces evident in his earlier Viennese first movements; with piano figuration, omitting it when expected or reconstituting it at important formal junctures; and with unexpected thematic and harmonic disjunctions. While Mozart's harmonic experimentation in K. 537 and 595 can be partially explained in general stylistic terms, given similarities to passages in the last three symphonies, and considered representative of the "bizarre tonal sequences" and "striking modulations" often remarked upon by Mozart's contemporaries, it cannot be attributed to a fundamental shift in the composer's "world view." Rather, the complementary nature of radicalism and innovation in the two first movements in particular——K. 537 in the orchestral and solo expositions and recapitulation and K. 595 in the development——reveals these final concertos as thoroughly pragmatic and systematic essays in stylistic reinvention.

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Brown, A. Peter Brown. "Eighteenth-Century Traditional and Mozart's "Jupiter" Symphony K.551." Journal of Musicology 20, no. 2 (2003): 157–95. http://dx.doi.org/10.1525/jm.2003.20.2.157.

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Although the "Jupiter" Symphony has been the subject of much analytical commentary, little attention has been paid to placing the work within the context of Mozart's times and the heritage of earlier 18th-century practices on which it draws. Filling this lacuna involves the consideration of myriad factors, including Mozart's exposure to the music of J. S. and C. P. E. Bach, Joseph Haydn, Michael Haydn, Carlo d'Ordonez, Antonio Salieri, and others; his knowledge of Killian Rheinhardt's Rubriche Generali; his exposure to the Viennese C major trumpet-symphony tradition; and the possible effect of the Turkish War under way in 1788 on the Charakter of K.543, 550, and 551 both in terms of their individual movements and the cycle as a whole. In this larger context, K.543 is the most normal work of the series; K.550, in minor, is dominated by music of mourning; and K.551 is both an elevated and celebratory symphony most appropriate for a victory after battle. Given the C major trumpet-symphony tradition of the first movement of K.551, the elevated nature of the slow second movement's French sarabande, the mixture of idioms of the minuet, and the fugal finale, Mozart fulfills in K.551 every Viennese celebratory requirement.

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Keefe, Simon P. "“Die Ochsen am Berge”: Franz Xaver Süssmayr and the Orchestration of Mozart's Requiem, K. 626." Journal of the American Musicological Society 61, no. 1 (2008): 1–65. http://dx.doi.org/10.1525/jams.2008.61.1.1.

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Abstract Franz Xaver Süssmayr's letter to the publisher Härtel (1800) about his involvement in completing Mozart's Requiem implicitly and explicitly asks its recipient to take his contribution seriously. Positive appraisals of the entire Requiem in the early decades of the nineteenth century, read alongside this letter, invite reevaluation of Süssmayr's orchestration of the work. Early writings on Mozart's orchestration clarify that Süssmayr's countless musical decisions, large and small, would have carried genuine aesthetic resonance. Süssmayr's view that the winds should function primarily as support for the voices derives from Mozart's orchestration of the Introit, and manifests itself especially in voice doublings and frequent segues between vocal statements. The origin of his shaping of orchestration toward climactic points in the Lacrymosa, Sanctus, and Benedictus, however, is less clearly attributable to Mozart. Süssmayr's entitlement to a vision of his own for the completion of the work, one that may not follow Mozart's intentions in every respect, encourages us to consider putative “transgressions” evidence of active engagement with the work itself, rather than of musical misjudgment. Examining the Sanctus and Benedictus (for which no materials in Mozart's hand are extant) as well as the Sequence, reveals the consistency and coherence of Süssmayr's vision across the Requiem as a whole.

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18

Laufer, Edward. "REVISED SKETCH OF MOZART, K. 545/I AND COMMENTARY." Journal of Music Theory 45, no. 1 (April 1, 2001): 144–50. http://dx.doi.org/10.1215/00222909-45-1-144.

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19

STEELE, KENNETH M. "Do Rats Show a Mozart Effect?" Music Perception 21, no. 2 (2003): 251–65. http://dx.doi.org/10.1525/mp.2003.21.2.251.

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The ““Mozart effect”” is an increase in spatial reasoning scores after listening to a Mozart piano sonata. Both the production and interpretation of the effect are controversial. Many studies have failed to replicate the original effect. Other studies have explained a Mozart effect as being caused by changes in arousal or differences in preferences of the listener. F. H. Rauscher, K. D. Robinson, and J. J. Jens (1998) reported that rats learned to complete a T-maze more quickly if they had been exposed in utero and reared hearing a Mozart piano sonata. They concluded that the result indicated a direct effect of the music on brain development and contradicted competing accounts of arousal or preference. This article is an analysis of the experiment by Rauscher et al. The in utero exposure would have been ineffective because rats are born deaf. A comparison of human and rat audiograms, in the context of the frequencies produced by a piano, suggests that adult rats are deaf to most notes in the sonata. The successful performance of the Mozart group may be explained by the incomplete use of random assignment of subjects to groups and by experimenter effects in the construction of groups. The results of Rauscher et al. (1998) do not provide strong support for the existence of the Mozart effect.

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20

Rauscher, Frances H., and Gordon L. Shaw. "Key Components of the Mozart Effect." Perceptual and Motor Skills 86, no. 3 (June 1998): 835–41. http://dx.doi.org/10.2466/pms.1998.86.3.835.

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The results of studies intended to replicate the enhancement of spatial-temporal reasoning following exposure to 10 min. of Mozart's Sonata for Two Pianos in D Major (K.448) have been varied. While some studies have replicated the effect, others have not. We suggest that researchers' diverse choice of dependent measures may account for these varied results. This paper provides a neurophysiological context for the enhancement and considers theoretical and experimental factors, including the choice of dependent measures, the presentation order of the conditions, the selection of the musical composition, and the inclusion of a distractor task, that may contribute to the various findings. More work is needed before practical applications can be derived.

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Kotnik, Vlado. "Skladatelji in občinstva med visoko in popularno kulturo: K teoriji in zgodovini družbene recepcije opere." Musicological Annual 48, no. 1 (June 1, 2012): 129–64. http://dx.doi.org/10.4312/mz.48.1.129-164.

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Članek predstavlja refleksiven pregled nekaterih primerov družbene recepcije opere. Pri tem so izpostavljeni štirje modeli družbene recepcije opere: 1) Mozart, hibridizem in divergentna kultura; 2) Wagner, avantgardizem in visoka kultura; 3) Meyeerber, komercializem in popularna kultura; 4) Verdi, belkantizem in ljudska kultura.

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Kang, Man-hee. "The Formal Structures of the First Movements of Wolfgang Amadeus Mozart`s Concertos, K. 242 and K. 365." Yonsei Music Research 9 (December 31, 2002): 1–19. http://dx.doi.org/10.16940/ymr.2002.9.1.

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23

Krumhansl, Carol L. "Topic in Music: An Empirical Study of Memorability, Openness, and Emotion in Mozart's String Quintet in C Major and Beethoven's String Quartet in A Minor." Music Perception 16, no. 1 (1998): 119–34. http://dx.doi.org/10.2307/40285781.

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This study examines possible parallels between large-scale organization in music and discourse structure. Two experiments examine the psychological reality of topics in the first movements of W. A. Mozart's String Quintet No. 3 in C major, K. 515, and L. van Beethoven's String Quartet No. 15 in A minor, Op. 132. Listeners made real-time judgments on three continuous scales: memorability, openness, and amount of emotion. All three kinds of judgments could be accounted for by the topics identified in these pieces by Agawu (1991) independently of the listeners' musical training. The results showed hierarchies of topics. However, these differed for the three tasks and for the two pieces. The topics in the Mozart piece appear to function as a way of establishing the musical form, whereas the topics in the Beethoven piece are more strongly associated with emotional content.

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24

Roth, Edward A., and Kenneth H. Smith. "The Mozart Effect: Evidence for the Arousal Hypothesis." Perceptual and Motor Skills 107, no. 2 (October 2008): 396–402. http://dx.doi.org/10.2466/pms.107.2.396-402.

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This study investigated the effect of music listening for performance on a 25-question portion of the analytical section of the Graduate Record Exam by 72 undergraduate students ( M age 21.9 yr.). Five levels of an auditor condition were based on Mozart Piano Sonata No. 3 (K. 281), Movement I (Allegro); a rhythm excerpt; a melody excerpt; traffic sounds; and silence. Participants were randomly assigned to one of the stimuli. After a 5-min., 43-sec. (length of the first Allegro movement) listening period, participants answered the questions. Analysis indicated participants achieved significantly higher mean scores after all auditory conditions than those in the silent condition. No statistically significant pairwise mean difference appeared between scores for the auditory conditions. Findings were interpreted in terms of an arousal framework, suggesting the higher means in all auditory conditions may reflect immediate exposure to auditory stimuli.

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25

Kramer, Lawrence. ": Jane Austen and Mozart: Classical Equilibrium in Fiction and Music . Robert K. Wallace." 19th-Century Music 8, no. 3 (April 1985): 277–79. http://dx.doi.org/10.1525/ncm.1985.8.3.02a00080.

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26

Rom, Uri B. ""To Gild Refined Gold," or What Mozart Didn't Want Us to Embellish." Music Theory and Analysis (MTA) 6, no. 1 (April 30, 2019): 50–87. http://dx.doi.org/10.11116/mta.6.1.2.

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The question of adding embellishments in music performance is generally regarded from a primarily practical perspective. In this article I make a case for embellishments as an object of music-theoretical inquiry in their own right. While exploring this question mainly in conjunction with Mozart's music for solo piano, I address the more fundamental question of what makes a given moment in the music suitable for added ornamentation. Tolerance to embellishment is defined as a quality of the melodic surface tantamount to the flexibility and exchangeability of melodic formulations with variants. Thus defined, only some of the embellishments notated by composers are indicative of a flexible melodic surface (optional embellishments), whereas others are shown to be irreducible owing to their participation in substantive thematic processes (obligatory embellishments). My investigation focuses on embellishments introduced in sonata-form recapitulations and other types of recapitulatory restatements (e. g., the return of the refrain in the rondo form). A movement's form and tempo are shown to affect its amenability to added ornamentation. At a local level, I draw on aspects of music perception and musical memory to account for a correlation between a passage's temporal position in the movement and its suitability for added embellishments. I conclude by pointing to a Mozart-specific category of unembellishable motives, demonstrably intended by the composer to be performed with no decoration. Engaging in a dialogue with Robert Levin's recorded embellished version of the slow movement of Mozart's Piano Concerto in A major, K. 488, this primarily theoretical discussion also leads to some tentative practical implications for performance.

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Danilova, Yana Yu. "The Acoustic Images of Quasi-Ensemble Music-Making in the Slow Section of Mozart’s Clavier Sonata in B-flat Major, К. 570." ICONI, no. 3 (2019): 27–37. http://dx.doi.org/10.33779/2658-4824.2019.3.027-037.

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Music for clavier from the 18th century graphically recreates the acoustic images of the musical instruments and models of quasi-ensemble music making of that period. This tradition of “reflected musical texts” was typical for the Baroque period, when piano music presented a quasi-ensemble score condensed into two-staff notation. The acoustic features of the European practice of music-making in ensembles have also been universally reflected in the musical graphics of the piano sonatas of the Viennese Classicists – Haydn, Mozart and Beethoven. On the basis of the observations of this migration within the musical text of the slow movement of Mozart’s Sonata in B-flat minor K. 570, the article demonstrates the modifications of the structural dialogic models of Baroque practice and the process of their transformation into unfolded narrative-contextual signs, the peculiar features of the musical scores, and the acoustic images of the 18th century music-making practice.

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Lerdahl, Fred. "Calculating Tonal Tension." Music Perception 13, no. 3 (1996): 319–63. http://dx.doi.org/10.2307/40286174.

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The prolongational component in A Generative Theory of Tonal Music assigns tensing and relaxing patterns to tonal sequences but does not adequately describe degrees of harmonic and melodic tension. This paper offers solutions to the problem, first by adapting the distance algorithm from the theory of tonal pitch space for the purpose of quantifying sequential and hierarchical harmonic tension. The method is illustrated for the beginning of the Mozart Sonata, K. 282, with emphasis on the hierarchical approach. The paper then turns to melodic tension in the context of the anchoring of dissonance. Interrelated attraction algorithms are proposed that incorporate the factors of stability, proximity, and directed motion. A distinction is developed between the tension of distance and the tension of attraction. The attraction and distance algorithms are combined in a view of harmony as voice leading, leading to a second analysis of the opening phrase of the Mozart in terms of voiceleading motion. Connections with recent theoretical and psychological work are discussed.

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Lin, Lung-Chang, Wei-Te Lee, Hui-Chuan Wu, Chin-Lin Tsai, Ruey-Chang Wei, Yuh-Jyh Jong, and Rei-Cheng Yang. "Mozart K.448 and epileptiform discharges: Effect of ratio of lower to higher harmonics." Epilepsy Research 89, no. 2-3 (May 2010): 238–45. http://dx.doi.org/10.1016/j.eplepsyres.2010.01.007.

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Lin, Lung-Chang, Wei-Te Lee, Chien-Hua Wang, Hsiu-Lin Chen, Hui-Chuan Wu, Chin-Lin Tsai, Ruey-Chang Wei, et al. "Mozart K.448 acts as a potential add-on therapy in children with refractory epilepsy." Epilepsy & Behavior 20, no. 3 (March 2011): 490–93. http://dx.doi.org/10.1016/j.yebeh.2010.12.044.

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LU, Yingjun, Haizhen WU, Jing QIAN, and Fei XIE. "Research on The Influence of Mozart Sonata K.448 on EEG Power Spectrum and Gravity Frequency." ACTA BIOPHYSICA SINICA 27, no. 2 (July 11, 2011): 154–66. http://dx.doi.org/10.3724/sp.j.1260.2011.00154.

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Granot, Roni Y., and Nori Jacoby. "Musically puzzling II: Sensitivity to overall structure in a Haydn E-minor sonata." Musicae Scientiae 16, no. 1 (November 23, 2011): 67–80. http://dx.doi.org/10.1177/1029864911423146.

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Previous studies have suggested that listeners are insensitive to the overall tonal structure of musical pieces. In Part I of this report ( Granot & Jacoby, 2011 ) we reexamined this question by means of a puzzle task using 10 segments of Mozart’s B flat major piano sonata K. 570/I. As expected, subjects had difficulty in recreating the original piece. However, their answers revealed some interesting patterns, including (1) Some sensitivity to the overall structure of A–B–A’ around the non-stable B section; (2) Non-trivial sensitivity to overall “directionality” as shown by a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; and (4) Sensitivity to opening and closing gestures, thematic similarity, and surface cues. In the current paper we further validate these findings by comparing the results obtained from a new group of participants who performed an 8-segment puzzle task of Haydn’s E minor piano sonata Hob. VXI-34/I. The similarity of our results to those obtained with the Mozart sonata validates our methods and points to the robustness of our findings, despite the differences in the music contexts (composer and key), and despite some methodological caveats.

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Lin, Lung-Chang, Wei-Te Lee, Hui-Chuan Wu, Chin-Lin Tsai, Ruey-Chang Wei, Hin-Kiu Mok, Chia-Fen Weng, Mei-wen Lee, and Rei-Cheng Yang. "The long-term effect of listening to Mozart K.448 decreases epileptiform discharges in children with epilepsy." Epilepsy & Behavior 21, no. 4 (August 2011): 420–24. http://dx.doi.org/10.1016/j.yebeh.2011.05.015.

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Lin, Lung-Chang, Chun-Ting Juan, Hsueh-Wen Chang, Ching-Tai Chiang, Ruey-Chang Wei, Mei-Wen Lee, Hin-Kiu Mok, and Rei-Cheng Yang. "Mozart K.448 attenuates spontaneous absence seizure and related high-voltage rhythmic spike discharges in Long Evans rats." Epilepsy Research 104, no. 3 (May 2013): 234–40. http://dx.doi.org/10.1016/j.eplepsyres.2012.11.005.

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Granot, Roni Y., and Nori Jacoby. "Musically puzzling I: Sensitivity to overall structure in the sonata form?" Musicae Scientiae 15, no. 3 (July 6, 2011): 365–86. http://dx.doi.org/10.1177/1029864911409508.

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Previous studies have suggested that listeners are not sensitive to the overall tonal structure of musical pieces. This assumption is reexamined in the current study in an active musical puzzle task, with no time constraints, focusing on the presumably most directional musical form – the sonata form. In our first study (reported here, and referred to as “the Mozart study”), participants with varying levels of musical training were presented with disordered sections of Mozart’s piano sonata K. 570/I in B flat major and asked to rearrange the ten sections into a musically logical coherent whole. A second study (to be reported in Musicae Scientiae issue 16[1]) replicated the task in a different group of participants who listened to Haydn’s piano sonata, Hob: XVI-34/I in E minor. In contrast with previous studies, we do not focus on listeners’ ability to recover the original sonatas. Rather, we explore emergent patterns in their responses using new types of analysis. Our results indicate that listeners show: (1) Some sensitivity to the overall structure of A-B-A’ around the non-stable B section; (2) Non- trivial sensitivity to overall “directionality” through a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; (4) Sensitivity to opening and closing gestures, thematic similarity and surface cues and; (5) No sensitivity to global harmonic structure.

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Lin, Lung-Chang, Chen-Sen Ouyang, Ching-Tai Chiang, Rong-Ching Wu, Hui-Chuan Wu, and Rei-Cheng Yang. "Listening to Mozart K.448 decreases electroencephalography oscillatory power associated with an increase in sympathetic tone in adults: a post-intervention study." JRSM Open 5, no. 10 (October 8, 2014): 205427041455165. http://dx.doi.org/10.1177/2054270414551657.

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M.S. "Divertimento NO. 2 in D Major, K. 131, Finale.Divertimento NO. 2 in D Major, K. 131, Finale. (String orch., Grade 1), Mozart, arr. Sandra Dackow. Ludwig/Great Works, 2002, $35." American String Teacher 53, no. 3 (August 2003): 118. http://dx.doi.org/10.1177/000313130305300335.

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Lin, Lung-Chang, Chen-Sen Ouyang, Ching-Tai Chiang, Hui-Chuan Wu, and Rei-Cheng Yang. "Early evaluation of the therapeutic effectiveness in children with epilepsy by quantitative EEG: A model of Mozart K.448 listening—a preliminary study." Epilepsy Research 108, no. 8 (October 2014): 1417–26. http://dx.doi.org/10.1016/j.eplepsyres.2014.06.020.

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Bergomi, Piera, Michele Chieppi, Antonella Maini, Tiziana Mugnos, Debora Spotti, Chrisoulle Tzialla, and Luigia Scudeller. "Nonpharmacological Techniques to Reduce Pain in Preterm Infants Who Receive Heel-Lance Procedure: A Randomized Controlled Trial." Research and Theory for Nursing Practice 28, no. 4 (2014): 335–48. http://dx.doi.org/10.1891/1541-6577.28.4.335.

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Introduction: The heel-lance (HL) method for blood collection from the newborn is controversial for the pain it causes. This is the first randomized controlled trial on the management and reduction of pain using the music of Wolfgang Amadeus Mozart (“Sonata K. 448”) in premature infants hospitalized in a neonatal intensive care unit (NICU). This study has compared nonpharmacological techniques with standard procedure for reducing pain during HL procedure. Methods: Thirty-five premature infants were enrolled, each for 3 HL procedures, of which each was randomized to 1 of the 3 study arms. Arms were then compared in terms of the Premature Infant Pain Profile (PIPP) changes by analysis of variance (ANOVA). Results: One hundred five HL procedures were available for analysis (35 standard procedure, 35 music, 35 glucose). Median baseline PIPP was 3, and median PIPP after the HL procedure was 5. PIPP scale change was +3 in the control arm, +1 in the glucose arm, +2 in the music arm (p = .008). Discussion: Both glucose and music were safe and effective in limiting pain increase when compared to standard procedure in HL procedures in preterm infants.

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KEENAN, PETER. "WOLFGANG AMADEUS MOZART (1756–1791), ED. CLEMENS KEMME MISSA IN C K. 427 Wiesbaden: Breitkopf & Härtel, 2018 pp. x + 177, ismn979 0 004 21372 8." Eighteenth Century Music 17, no. 2 (September 2020): 273–75. http://dx.doi.org/10.1017/s1478570620000135.

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Bresin, Roberto, and Giovanni Umberto Battel. "Articulation Strategies in Expressive Piano Performance Analysis of Legato, Staccato, and Repeated Notes in Performances of the Andante Movement of Mozart?s Sonata in G Major (K 545)." Journal of New Music Research 29, no. 3 (September 28, 2000): 211–24. http://dx.doi.org/10.1076/jnmr.29.3.211.3092.

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42

Wijayanti, Sinta. "Asuhan Keperawatan Pada Pasien Gagal Ginjal Kronis Dengan Hipertensi Pre-HD Dengan Menggunakan Penerapan Terapi Musik Klasik." Madago Nursing Journal 2, no. 1 (June 29, 2021): 27–32. http://dx.doi.org/10.33860/mnj.v2i1.406.

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Chronic renal failure (CRF) is the final stage of failure of the nephrons to maintain their function due to the progressive destruction of nephrons which are irreversible and require renal therapy. One of the renal therapy is hemodialysis. Hemodialysis is a therapy used when the kidneys are unable to carry out their function to remove uremic toxins and talk about body electrolytes and have complications of hypertension. In hemodialysis patients, uncontrolled hypertension can increase the prevalence of cardiovascular disease so it is a very important factor in the prognosis of cardiovascular complications in chronic chronic failure patients with hypertension. Many non-pharmacological therapies that have been developed in the world of nursing include classical music therapy. The goal of this therapy is to identify and analyze the patient's blood pressure before and after being given classical music therapy. The design of this study used the applied research approach method once a day for 6 days. The number of samples taken was 10 samples that fit the inclusion criteria. The research instruments used were MP3 Player, Mozart classical music entitled Eline Kleine Nachtmusik, K. 525: I. Allegro, headphones, sphygnomanometer clock observation sheet, and stethoscope. The results of this study show that there is a change in pressure after being given classical music therapy because music can easily be accepted by the hearing organs and easily captured by the brain so that it makes a person more relaxed which causes blood vessels to dilate so that it can lower blood pressure. The conclusion of the results of this study is to present classical music therapy in lowering blood pressure, which is effective in lowering blood pressure.

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43

Cooper, Barry. "Wolfgang Amadeus Mozart, Requiem, K.626, edited by Richard Maunder. Oxford and New York, Oxford University Press, 1988. viii + 224 pp. ISBN 0 19 337618 0. - Richard Maunder, Mozart's Requiem: On Preparing a New Edition. Oxford, Clarendon Press, 1988. 227 pp. ISBN 0 19 316413 2." Journal of the Royal Musical Association 114, no. 2 (1989): 248–51. http://dx.doi.org/10.1093/jrma/114.2.248.

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44

Li, Jiafang, Qian Han, Runxiang Zhang, Honggui Liu, Xiang Li, and Jun Bao. "PSV-7 Effects of music stimulus on behavior response, cortisol level and immunity horizontal of growing pigs." Journal of Animal Science 98, Supplement_4 (November 3, 2020): 224–25. http://dx.doi.org/10.1093/jas/skaa278.412.

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Abstract Enrichment environment is widely used to improve the welfare of domestic animals and satisfy their natural behavior. Music as an enriched environment can reduce abnormal behavior in humans, non-human primates and rodents. The aim of this study was to investigate the effects of repeated music stimuli on the behavior, physiology and immunity of growing pigs. A total of 72 5-week-old hybrid piglets (Large White × Duroc × Minpig) were randomly divided into three treatments groups of the music group (Mozart K.448, 65–70 dB), the noise group (mechanical noise, 85–90 dB) and the control group (silence, less than 40dB). During 60 days of auditory exposure, the behavioral responses, cortisol level and immune horizontal of the piglets were measured. The results showed that the active behavior of the growing pigs increased and lying behavior decreased in the music group compared to the control group (P < 0.05). The music stimulus increased tail wagging, tail in curl and playing behaviors (P < 0.05). The noise stimulus increased aggressive behavior (P < 0.05) but had no effect on the exploring and manipulative behaviors (P > 0.05). The frequency of the event behaviors decreased with the time of auditory stimuli (P < 0.05). Short-term music stimulus had a lower cortisol level than the noise and control groups (P < 0.05). Long-term music stimulus increased the level of IgG, IL-2 and IFN-γ (P < 0.05) and decreased the IL-4 level (P < 0.05). Noise stimulus reduced the level of IgG (P < 0.05) but had no effect on the level of IL-2, IL-4 and IFN-γ (P > 0.05). In conclusion, music stimulus triggers the pigs to show more positive behaviors, and the short-term music stimulus can reduce the stress response, while the long-term music stimulus can enhance the immune responses in the growing pigs.

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RICE, ALBERT R. "MOZART'S DIVERTIMENTO. K.113." Music and Letters 74, no. 3 (1993): 485–87. http://dx.doi.org/10.1093/ml/74.3.485.

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46

Gjerdingen, Robert O. "Courtly Behaviors." Music Perception 13, no. 3 (1996): 365–82. http://dx.doi.org/10.2307/40286175.

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In addition to preserving a record of tones, chords, intervals, and other musical features, the historical text known as Mozart's Keyboard Sonata in Et Major, K. 282 (189g), also preserves traces of complex musical behaviors that were developed and replicated within eighteenth-century court society. The article focuses on several musical behaviors that would have been obvious to courtiers in Mozart's time and relates his presentation of them in K. 282 to courtly norms.

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Baker, Nicole. "Concerning the Performance of Mozart's Concert Arias K. 294 and K. 528." Performance Practice Review 2, no. 2 (1989): 133–43. http://dx.doi.org/10.5642/perfpr.198902.02.4.

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BLAZIN, DWIGHT. "THE TWO VERSIONS OF MOZART'S DIVERTIMENTO K. 113." Music and Letters 73, no. 1 (1992): 32–47. http://dx.doi.org/10.1093/ml/73.1.32.

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Jones, Timothy Rhys, Esther Cavett-Dunsby, and Paul Willem van Reijen. "Mozart's Variations Reconsidered: Four Case Studies (K. 613, K. 501 and the Finales of K. 421 (417b) and K. 491)." Music Analysis 10, no. 1/2 (March 1991): 207. http://dx.doi.org/10.2307/854004.

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50

Zaslaw, Neal, and Cliff Eisen. "Signor Mozart's Symphony in a Minor, K. Anhang 220 = 16a." Journal of Musicology 4, no. 2 (1986): 191–206. http://dx.doi.org/10.2307/763795.

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